She Laughs Back: Feminist Wit in 1970s Bay Area Art

SACRAMENTO STATE, CALIFORNIA—

In the bustling university library of Sacramento State, a bold and spirited exhibition is taking the stage. "She Laughs Back: Feminist Wit in the 1970s Bay Area Art" dives into a pivotal decade when humor and art became potent tools in the feminist arsenal. Through a curated selection of provocative artworks, the exhibition captures the irreverent spirit and incisive wit of women artists who dared to challenge societal norms and reshape the Bay Area’s cultural landscape. 

This show is not just a glimpse into the past; it's a mirror reflecting the ongoing struggle for women's rights, echoing the laughter that has long been a source of resilience and resistance.

Judith Linhare, Tools of the Trade, 1978

Judith Linhares' "Tools of the Trade" cleverly melds the playfulness of Loteria with the grave iconography of La Calavera Catrina to critique the rigid gender roles imposed on women. Painted during a time of artistic and social upheaval, the work juxtaposes cultural symbols of femininity against the backdrop of the 1970s feminist movement. Through this, Linhares captures the essence of women's domestic 'performance,' offering a nod to her Mexican and Chicano cultural influences and a pointed commentary on the expectations of womanhood. It's a painting that invites reflection on the performative nature of gender roles that still resonates personally and culturally today.

This isn't just art—it's a conversation starter. It makes me reflect on the gender norms that have silently colored the background of my life. When I saw this painting, I compared these feminine objects to my masculine ones, which are way more simple and straightforward. This urges me to question, reflect, and embrace the complexity of my Latino identity as well as the role women play in society. 

Lori Greenleaf, Blind Date, 1976

Lori Greenleaf's "Blind Date" from 1976 is a whimsical embodiment of an artist's encounter with the surreal, drawn straight from the pages of her dream journal. In the sculpture, we see an anthropomorphized and smartly dressed mole, an unexpected suitor from the artist's subconscious. The creature stands, bouquet in hand, ready for a date never meant to be.

For Greenleaf, this piece emerged based on the artist's experience of being a woman constantly pursued by one man with a fat crush on her. She set boundaries and navigated through unwanted advances. This mole symbolizes the unwelcome yet persistent pursuit she faced. The sculpture doesn't just reflect a single dream or incident but a shared experience—perhaps familiar to many—of dealing with advances that overstep boundaries while maintaining a sense of humor and grace. "Blind Date" is a charming, humorous, and poignant snapshot of the artist's inner world and external realities, presenting a story that speaks to the unexpected encounters that shape our personal narratives.

Conclusion

Reflecting on "She Laughs Back," the threads of my Latino heritage are beautifully woven through the works of Judith Linhares. Linhares’ "Tools of the Trade" embraces the colorful nostalgia of Lotería and the familiar defiance of La Catrina, reimagined to challenge the roles women are often assigned. Lori Greenleaf's work was humorous to me, and I always love looking at situations gracefully and with a good laugh.

There were many striking pieces in this exhibition, humorous and culture-saturated. They're not just art; they're conversations that echo in my life. They fuse the past with the present, humor with critique, and personal with universal.